Verse A Section
Lesson 38 from: Songwriting in Logic Pro X for Electronic Music ProductionTomas George
Verse A Section
Lesson 38 from: Songwriting in Logic Pro X for Electronic Music ProductionTomas George
Lessons
Writing Drums and Bass Part Introduction
01:11 2Making Drums Beats with Ultrabeat
14:27 3Beats with Ultrabeat and Drummer
08:48 4Writing Bass Parts - Part 1
15:03 5Writing Bass Parts - Part 2
04:53 6Writing Drums and Bass Parts Assignment
00:44 7Writing Chords Introduction
00:56 8Writing Chords
19:38Experimental Chords
09:44 10Writing Chords Assignment
00:56 11Writing Melodies Introduction
00:58 12Writing Melodies - Part 1
19:28 13Writing Melodies - Part 2
05:12 14Writing Melodies - Part 3
10:38 15Arpeggiator
08:02 16Writing Melodies Assignment
00:59 17Arrangement Introduction
00:45 18Arrangement
18:14 19Arrangement Continued
16:16 20Adding Effects and Instruments
18:28 21Arranging into a New Song - Part 1
14:57 22Arranging into a New Song - Part 2
17:31 23Arranging into a New Song - Part 3
08:24 24Arrangement Assignment
00:38 25Mixing Introduction
01:02 26Cleaning up and Basic Mixing
15:52 27EQ
11:46 28Tuning Drums
05:58 29Compression
10:56 30Sidechain Compression
10:30 31Reverb and Delay Sends
07:58 32Automation
06:59 33Mixing Assignment
00:58 34Recording Audio Equipment
10:55 35Recording Audio
04:01 36Vocal Melodies Introduction
01:04 37Vocals Intro
00:26 38Verse A Section
06:56 39Chorus and Harmonies
05:12 40Verse B and Pre-Chorus
05:20 41Verse 2, Chorus and Middle 8
17:37 42Song Title
00:50 43Vocal Melodies Assignment
01:00 44Lyrics Introduction
01:02 45Creating a Story with Lyrics - Part 1
15:25 46Creating a Story with Lyrics - Part 2
14:37 47Lyrics Assignment
00:54 48Adaptive Songwriting with Peter Darling
12:13 49Thanks and Bye
00:09Lesson Info
Verse A Section
So the first thing that you want to do when writing a verse for a song is to listen out for the root notes. So that's a note that features as much as possible or it's the very first note of your scale. So this song is written in C minor. So c would probably be the root note. So if we listen to all of the chords already, we can hear that the sea would feature for all of you can hear that quite clearly going through it. So if I keep singing, you can hear that the sea is constantly there. And this is a great place to start with your melody. I actually start a little bit higher than that with my melody idea. So I've jumped up a minor third and I start from the minor third which is E flat. So if we have a little listen to the in trn, it's got this rolling. So you can hear that, that melody idea that I've come up with actually features in the music itself. Marimba. So you've got a very similar rhythm going on there. When you're writing your melody, you want it to sit nicely within the music ...
so that it's almost playing a bit of a call and response game. It will also make people engage with the music and not just the melody. So you can hear that. I've taken the rhythm idea for the melody from the marimba three. Du du, du, du, du, du du du du du Mars Marimba three. So if I solo the marimba, you can hear it by itself. So it's quite a catchy little rhythm there. So I've written some lyric ideas already. I've come up with a theme and I'm constantly writing lyrics. So whether I'm just walking somewhere or I'm with friends and an idea comes to my head or I'm actually at work, which probably isn't the best place. Um So this is an idea that I came up with a while ago. So I'm just going to use the lyrics and try to rework them when it comes to the melody. So if we've got the, I've got the line, you've been trapped inside a box buried deep inside of my mind. Originally, I had, you've been trapped inside a box buried deep inside my mind. But with this rhythm, I think the of really, it is needed is needed. So I've added that in. So if you've got, you've been trapped inside bars very deep inside of my mind. So you can hear, I've slightly variated my original improvisation so that it gets all the words in. If I sing that along with the track inside, very side of my mind. So you can hear how I've not only developed the improvisation idea but also developed the lyrical idea. I'm gonna miss out one of the lines that I'd come up with previously when writing the lyrics and go straight to the third line. So I could avoid you and control you but scream just like an animal. I'm gonna try and use that in the same melody of. So let's have a little play around with that. You ain't control you, but you're just lying. So again, you can see I've slightly changed the rhythm of the melody, maybe added extra notes here and there just so that I can get the lyrics in. So if I sing both of those together, been trapped inside. Very bye of my mind and boy, you won't control you but you scream just like, and I know and in fact, I think because of the word animal and I'm talking about screaming like an animal. I don't really like the melody going down. So I think I'm gonna raise the last note that I sing. So let's try that again. Been trapped inside very inside of my mind for you and control you. But you scream just like and I know so because of the words I'm talking about buried deep inside of my mind, I want the melody to descend. Go down being buried. But then this one talking about screaming just like an animal. It needs to be a little bit more fiery in effect. It might need to be a bit more fiery than what I'm doing. So maybe I'll go higher. Let's go for that second time round just so I can have a little play around you and control you. But you scream just like. So you've actually ended the, uh, verse a section on a bit of an uncomfortable note. You wouldn't be able to leave it there. You have to continue. So now we're gonna record in that verse idea. Um So press r trapped inside very inside of my mind you and control you but you scream just like, and thanks for watching this lecture about writing a verse.
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